Prelude I fell in love with the original Link DAC, as was obvious from my review in the January 1999 Stereophile. I said that "the Link redefines entry into high-quality digital sound," as it provided excellent sound and 24-bit/96kHz conversion for the remarkably low price of $349. It is as firmly ensconced in Class C of "Recommended Components" as it is in my weekend system, where it tames the digital signals from my DMX receiver and my trusty old Pioneer PD-7100 CD player.
Recently, we've seen the digital "horsepower" race accelerate with the arrival of digital sources and devices with 24-bit and 96kHz sampling capability. Much of this has been spurred by the 24/96 labels emblazoned on the newer DVD players—and, within the purer confines of the audio community, by high-end DACs with this same ability. Indeed, it's possible that the dCS Elgar DAC, near and dear to John Atkinson's heart and a perennial Class A selection in Stereophile's "Recommended Components," performs so well with standard 16-bit/44.1kHz sources because its wider digital bandwidth permits greater linearity within the more restricted range of regular CDs.
Roy Hall has been Creek Audio's US importer for more than 20 years. Did you know that all Creek gear is now made in China? Just like Cambridge Audio, Quad, and many B&W models. Just like some US speaker brands, for which virtually all parts are made in China but are assembled, it's claimed, in the US. Three cheers for brands like LFD, Rega, Sugden, and Harbethall still made in the UK. For French marques made in France. For Italian products produced in Italy. Etc.
Late last year, when I first heard of the Music Hall Marimba, I was happily surprised: One of my favorite hi-fi manufacturers had finally introduced its first and (so far) only loudspeakerand it was seriously affordable at $349/pair. I wanted to review the Marimbas right away, but grumpy old Sam Tellig beat me to them.
In January, I reported on my experiences with the Integra DTC-9.8 preamplifier-processor, which I found to be outstanding with digital sources. That assessment was due, in no small part, to the performance of the Audyssey MultEQ XT room-correction system, which is included in the DTC-9.8. With only a little serious effort, MultEQ opened up the entire soundstage, making possible a better appreciation of the hi-rez sources now available on all sorts of discs. I have no doubt that any careful user can achieve similar satisfaction.
It was only a few months ago that I greeted Oppo Digital's BDP-83 universal Blu-ray player as a breakthrough consumer component, and it became a Runner-Up for Stereophile's Budget Product of 2009. It now appears that Oppo is using the design as a base on which to develop similar and more advanced products, both for themselves and for a good many other manufacturers. Some may take exception to my use of the word manufacturersif it's an Oppo under the skin, what, precisely, are these other "manufacturers" contributing? Well, that's hardly a new question.
The M1 DAC is by Musical Fidelity. At $699, it's a stunning bargain. Comparing it to $995 for the Digilog in 1989. Meanwhile, the M1 is far more versatile, way better built, and, if memory serves me right, sounds vastly better.
It appears that the way to sell a DAC in 2011 is to almost give it away, in real-dollar terms. Some people pay far more than this for a set of speaker cables, a pair of interconnects, even a power cord. The M1 DAC is a piece of kit that can transform your system. I kid you not.
There's so much uncertainty and confusion surrounding computer audio and high-resolution downloads. Which hi-rez formats will win out? How do you store the downloads you've bought? (Easy. Don't buy them.) How do you access them? Will digital rights management (DRM) cramp your style, or data-storage fees for cloud computing crumple your wallet?
A computer is not optimized for the uninterrupted streaming of audio data. It has rapidly become established wisdom, therefore, that the optimal means of extracting audio data from a computer's USB port is to operate that port in what is called "asynchronous isochronous" mode. This lets the receiving device, such as a digital-to-analog converter (DAC), control the flow of data from the PC. In theory, asynchronous USB operation (not to be confused with the asynchronous sample-rate conversion used in some DACs) reduces jitter to unmeasurable levels, depending on the accuracy of the receiver's fixed-frequency oscillator, which is used to clock the data to the DAC. By contrast, in the alternative and almost ubiquitous USB operating mode, called "adaptive isochronous," while the sample rate of the output data, averaged over a longish period, will indeed be the specified 44.1 or 48kHz, there will be short-term fluctuations, or jitter, due to the oscillator having to change its frequency every millisecond to match the uncertain rate of data flow from the PC.
The X-DAC v3 replaces Musical Fidelity's Tri-Vista 21 DAC, which is no longer in production, although you might find some on dealer's shelves. The Tri-Vista 21 used two pairs of subminiature 5703 WB military tubes in the analog output stage. MF's Antony Michaelson called this Cold War tube, which is no longer made, a trivistor. The Tri-Vista 21 was last seen selling for $2395.
At the extreme high end—Halcro, VTL, Boulder, etc.—reviewers gush about a lack of character. If you're paying $20,000, you want a preamplifier or power amp to disappear. At those price points we also want extreme, unfatiguing resolution, and noise that's well below what most people would consider audible. But at those prices, an absence of character is definitely something most people aspire to.
NAD has been out there on the leading edge of entry-level high-end sound long enough that some audiophiles reckon they invented the category. Sure, we should give serious props to the likes of Creek, Rotel, Musical Fidelity, Arcam, Denon, and Parasound, all of which have made significant contributions to the musical aspirations of budget-conscious pilgrims. But I continue to harbor warm feelings about my last extended visit with an NAD component: the inexpensive yet supremely musical L40 CD Receiver, which I reviewed in the June 2000 Stereophile.